I’ve discovered why I’ve struggled to get through
these books—there’s very little action. Perhaps that’s why The Crow, the book with the most action, was my favorite. The Singing is, as all the books are,
far too long, and there’s too much talking and introspection and not enough
danger and suspense. Even the final “showdown” at the end with Sharma was
Maerad also develops far too much power too quickly.
There is not a very good balance to her growth in magic; she goes from somehow
defeating a giant Elemental (within the range of what we know about her
strength) to a glowing person who leaks magic and can destroy bad guys with a
single breath, after merely sitting for ten minutes and thinking—or something.
I’m not sure what was happening because my eyes were glazing over.
I honestly think if the books were much shorter, and
if there were only three books instead of four, the whole effect would have
been much better. But there are whole chapters of this book that are
unnecessary, or scenes that go on for far too long, and after a while Croggon’s
writing style really starts grating. And it’s clear she doesn’t know how to
write action, so she limits it as much as she can, which is why so much of the
final confrontation is inward rather than outward—but because everything is
delivered in the same exact tone, there’s no suspense or tension to the scene.
There’s practically no struggle, either.
Hem remains the only interesting character; Maerad is
too flat and boring, especially in this book. The problem with making your
character super-powerful is that it also makes them super-boring without
conflict or struggle to make them interesting. Hem, who was more normal, seemed
more alive than Maerad, who spent most of the last half of the book in a daze that
wasn’t really all that important to developing any part of her character.
Singing, and the Pellinor series in general, tries so hard to
deliver on epic fantasy, but falls short in terms of pacing, action,
characterization, and intrigue. There’s no politics, barely any struggle, and
there wasn’t enough editing done to help mitigate that. I’m a bit sorry I spent
so much time on these books, honestly, but what’s done is done, and now I know
that I can’t stand them (except for The
Crow. That one was okay).
I anticipated that The Crow would be my favorite of the Books of Pellinor so far, and I turned out to be correct. The absence of Maerad and pages of pages of her and Cadvan doing absolutely nothing helped make The Crow more interesting, though still just as massively long. This time, though, the book is cram-jam full of action, from the siege of Turbansk to Hem infiltrating the child army of Den Raven.
That’s not to say the book was perfect. It was still
way too long, and this time there was so much crammed in that there was almost
no time to pause before being slapped in the face with tension and action all
over again. I also really didn’t like the plot convenience behind Hem getting
his hands on the second half of the Treesong, and the fact that his trek across
the country to rescue Zelika was a complete waste of time (except for that
previously mentioned plot convenience—or should I say incredibly obvious plot
Speaking of Zelika, she was a bit annoying, and I’m
sure many people probably don’t like where her character goes and how her
character is used in the book, though it didn’t bother me as it was realistic.
I just am not fond of brash, headstrong characters who do stupid things. Hem
was better, though he got a bit annoying at times, too. I liked him more than
Maerad, as he seemed more normal and acted in a more understandable fashion
than Maerad’s odd weak/strong, passive/assertive ping-pong personality. He also
used more magic in one book than Maerad seemed to use in two, so Hem definitely
seems the more Bardic of the two and also seems to understand more about many
things than Maerad does, though perhaps my memory of the first two books is
simply failing me.
Despite the problems with the book, I still enjoyed The Crow for being much more fast-paced
and action-y than the first two books, as well as less clumsy in delivery. The
characters were more interesting and realistic, though I wasn’t fond of Zelika
and Hem had his bad moments, too. The worst part of the book is the obvious
plot manipulation in the last third, which made all the other manipulation
stand out even more.
The last book promises to bring together Hem and
Maerad in one last attempt to free the Treesong and defeat the Bad Guy before
he destroys everything. I remember not liking the ending, so we’ll see how it
The Riddle is the book that I probably remember most of the Books of Pellinor. The ending of this book is the ending that I thought was in the first book. I remember when I read it the first time that I thought it was a very sweet and poignant scene, but this time around was more of a “shrug, meh” moment. Maybe because I remember absolutely hating the ending of the fourth book, and the ending of the second book is the precursor to that.
Anyway, The Riddle continues to be Tolkien-esque. It’s a hefty book, though to be honest, I feel like most of the first half of the book could have been left out. Maerad and Cadvan spend weeks on an island for no reason. The most interesting part of the book is the second half, when Maerad traverses the ice lands in the North and is then taken to the domain of the Winter King. Croggon does a little better with worldbuilding overall in this book, though there’s still the feeling that there’s so much she isn’t covering beyond the Bardic system. Her world feels so empty most of the time, full of no one but Bards and enemies.
The series as a whole is very female-centric, and this one in particular is full of choice and empowerment and all that jazz. Personally I found Maerad’s struggle in the Winter King’s domain too much; her actual struggle to escape was fine, but the other bit that Croggon wants to get into, well, that was developed far too quickly and resolved far too quickly to seem like anything more than another character obstacle for Maerad to overcome.
I feel like there’s so much here in the book that I would love if it was revealed or developed in a different way. If I liked Maerad more, I might enjoy the books more, but she’s too…something…for me. I can’t really put my finger on what it is about her that I don’t care for. It’s like she’s too timid, but also too fierce, and I still don’t understand the magic enough to understand why she’s so powerful. I also don’t like the clumsy way Croggon is working in all of the “Fated One” stuff.
If I remember correctly, the next book takes place from the point of view of Hem, which may or may not be a nice change from two books of Maerad. I don’t usually like viewpoint changes, though, so I don’t know if it will matter for me. I’m two books in, so I think I will finish the series, but The Riddle didn’t do much to recommend the rest of the books to me.
After devouring Sharon Shinn and Kate Constable, I immediately went on the hunt for more 2000s fantasy and found Alison Croggon’s Book of Pellinor quartet. I’ve actually read this series before, something I realized once I started, but it was long enough ago that I only remember bits and pieces. And I don’t quite remember if I actually finished reading the series, though I think I did. Anyway, the whole book seemed hauntingly familiar, though I barely remembered anything of the plot. To be honest, the thing that I most remembered was the “let’s pretend this book was an actual historical document that’s been translated” gimmick.
Anyway, on the back cover, Tamora Pierce describes The Naming as Tolkienesque, and that is definitely apparent in the book. Of course, it’s not nearly as vast or extensive as Tolkien made the Lord of the Rings. Though much having to do with the politics and culture of the world is ignored, Croggon has developed the Bard part of the world well, with its own language and customs, and the whole legend of the world is also done well, if a bit trope-y. There’s the standard Light and Dark concept, with the standard Evil Villain. The magic is unexplained and described only as “the Gift,” with very little to show how it works or what it does. However, the world was much better developed than many similar fantasies I’ve read, and I could tell Croggon put a lot of thought into it.
The one thing that held me back from complete enjoyment of the book was the writing style, which was too old-fashioned. That’s probably not even the right word to use, but that’s the only thing I can think of to describe it. I was not a huge fan of the way characters spoke, and I especially didn’t like how differently Maerad spoke than other characters. It’s like every character is formal and speaks in a bit of antiquated syntax, and then Maerad speaks normally. Perhaps that’s to contrast her with the other Bards, but I didn’t enjoy it.
Also, I had trouble reconciling the fact that traveling seems to take no time at all, or at least seems to take no time at all, but then Maerad is consistently mentioning her period. So, Croggon is apparently trying to say, “It’s been three months since she left Gilman’s Cot!” when the way time has been tracked before then makes it seem as if it’s only been one month, if not two. There needs to be a better way for the readers to follow the time then for a character to think, “Oh, time for that monthly thing!”
The Naming has some promising worldbuilding, though there’s not much explanation for many of the concepts, and there’s very little sense of the world beyond Bards, Hulls, and some semblance of a Bardic ruling system. The fact that I’ve read this book is both a blessing and a curse, since I can’t wait to get to the parts I do remember liking, but am dreading the parts I remember not liking (which, to be honest, isn’t anything in specific—I just remember being let down by the ending. If I even finished the books, which I think I did).